Nashville Skyline
| Recorded = February 12–21, 1969 | Genre = Country rock, country | Length = | Label = Columbia | Producer = Bob Johnston | Last album = John Wesley Harding (1967) | This album = Nashville Skyline (1969) | Next album = Self Portrait (1970) | Misc = }} Nashville Skyline is the ninth studio album by American singer-songwriter Bob Dylan, released on April 9, 1969, by Columbia Records. Building on the rustic style he experimented with on John Wesley Harding, Nashville Skyline displayed a complete immersion into country music. Along with the more basic lyrical themes, simple songwriting structures, and charming domestic feel, it introduced audiences to a radically new singing voice from Dylan, who had temporarily quit smokingHow Bob Dylan Found His New Voice on 'Nashville Skyline' - Rolling Stone—a soft, affected country croon. The result received a generally positive reaction from critics, and was a commercial success. Reaching number 3 in the U.S., the album also scored Dylan his fourth UK No. 1 album. Critical reception |title=''Nashville Skyline''|author= |publisher=AllMusic |accessdate=January 11, 2012}} |rev2 = Chicago Tribune |rev2Score = |rev3 = MusicHound Rock |rev3Score = 3.5/5 |rev4 = The Rolling Stone Album Guide |rev4score = }} By the time Nashville Skyline was recorded, the political climate in the United States had grown more polarized. In 1968, civil rights leader Martin Luther King Jr. and Senator Robert Kennedy (a leading candidate for the presidency) were both assassinated. Riots had broken out in several major cities, including a major one surrounding the Democratic National Convention in Chicago and a number of racially motivated riots spurred by King's assassination. A new President, Richard Nixon, was sworn into office in January 1969, but the U.S. engagement in Southeast Asia, particularly the Vietnam War, would continue for several more years. Protests over a wide range of political topics became more frequent. Dylan had been a leading cultural figure, noted for his political and social commentary throughout the 1960s. Even as he moved away from topical songs, he never lost his cultural status. However, as Clinton Heylin would write about Nashville Skyline, "if Dylan was concerned about retaining a hold on the rock constituency, making albums with Johnny Cash in Nashville was tantamount to abdication in many eyes."Heylin (2003), p. 301. Helped by a promotional appearance on The Johnny Cash Show on June 7, Nashville Skyline went on to become one of Dylan's best-selling albums. Three singles were pulled from it, all of which received significant airplay on AM radio. Despite the dramatic, commercial shift in direction, the press also gave Nashville Skyline a warm reception. A critic for Newsweek wrote of "the great charm... and the ways Dylan, both as composer and performer, has found to exploit subtle differences on a deliberately limited emotional and verbal scale."Quoted in Heylin (2003), p. 302. In Rolling Stone, Paul Nelson wrote, "Nashville Skyline achieves the artistically impossible: a deep, humane, and interesting statement about being happy. It could well be... his best album." However, Nelson would retract his opinion in a review for Bob Dylan's Greatest Hits Vol. II less than three years later, writing, "I was misinformed. That's why no one should pay any attention to critics, especially the artist." In The Village Voice, Robert Christgau argued that "the beauty of the album" was in the "totally undemanding" and "one-dimensional" quality of the songs, believing Dylan had toyed with the public's expectations again by embracing a country tenor voice and aesthetic. In Christgau's opinion, "he has gone to country music because it is a repository of Jeffersonian values" of rugged individualism, anti-statism, and masculine compassion. "But he has no apparent interest in exposing, or even understanding, their subversion. For although country music appears Jeffersonian, it is really Jacksonian--intensely chauvinistic, racist, majority-oriented, and antiaristocratic in the worst as well as the best sense. That is to say, it voices both sides of populism: the democratic and the fascistic." A few critics expressed some disappointment. Ed Ochs of Billboard wrote, "the satisfied man speaks in clichés, and blushes as if every day were Valentine's Day." Tim Souster of the BBC's The Listener magazine wrote, "One can't help feeling something is missing. Isn't this idyllic country landscape too good to be true?"Both quoted in Heylin (2003), p. 303. Track listing All songs written by Bob Dylan. https://www.discogs.com/Bob-Dylan-Nashville-Skyline/release/1486272 Personnel * Bob Dylan – guitar, harmonica, keyboards, vocals * Norman Blake – guitar, Dobro * Kenneth A. Buttrey – drums * Johnny Cash – vocals on "Girl from North Country" * Fred Carter, Jr. - guitar * Charlie Daniels – bass guitar, guitar * Pete Drake – pedal steel guitar * Marshall Grant – bass guitar on "Girl from North Country" * W. S. Holland – drums on "Girl from North Country" * Charlie McCoy – guitar, harmonica * Bob Wilson – organ, piano * Bob Wootton – electric guitar on "Girl from North Country" Production *Bob Johnston – production * Charlie Bragg – engineering * Neil Wilburn – engineering Charts ;Singles References Category:1969 albums Category:Albums produced by Bob Johnston Category:Bob Dylan albums Category:Columbia Records albums Category:English-language albums